Michael Blake: In the Grand Scheme of Things

The beginning of an unusual release, "Road to Lusaka" is the first track from Canadian-born, New York-based saxophonist Michael Blake's In the Grand Scheme of Things. While maybe not as widely known in some circles, Blake is a masterful practitioner of the art form who is at ease working in or outside of the mainstream with a discography that includes a number of recordings and credits with the Lounge Lizards, the Jazz Composers Collective and others.

Sumptuous noises encompass the cinematic openingshadowy trumpet wails and subtle nuances of exotic percussion mingled with gentle cymbal crashesand then suddenly, the resonant synchronized pulse from a Moog bass line. As the track settles into the groove, Blake and trumpeter JP Carter exchange an open dialog with sporadic and purposed statements as drummer Dylan van der Schyff splashes the ostinato theme with detailed percussion.

One of the key elements of the compositionand the entire releaseis Chris Gestrin's exceptional work on both Fender Rhodes and Micromoog. The synthesized bass riff drives the piece, providing a wide sonic backdrop for the two lead voices to travel. At the track's closing, the Moog's frequency range is thoroughly manipulated with contoured embellishments. It's an electro-acoustic thoroughfare that is absorbing and enjoyable.

I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good

I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.